page_title: Sequence (music)
section_title: Melodic sequences
hierarchical_section_title: Sequence (music) / Melodic sequences
caption_attribution_description: English: Bach Prelude from Cello Suite in G, BWV 1007
context_page_description: In music, a sequence is the restatement of a motif or longer melodic passage at a higher or lower pitch in the same voice. It is one of the most common and simple methods of elaborating a melody in eighteenth and nineteenth century classical music. Characteristics of sequences:
  Two segments, usually no more than three or four
  Usually in only one direction: continuingly higher or lower
  Segments continue by same interval distance
  It is possible for melody or harmony to form a sequence without the other participating.
  There are many types of sequences, each with a unique pattern. Listed below are some examples.
context_section_description: In a melody, a real sequence is a sequence where the subsequent segments are exact transpositions of the first segment, while a tonal sequence is a sequence where the subsequent segments are diatonic transpositions of the first. The following passage from J.S. Bach demonstrates both kinds of sequence at work: 
  Note: In the example image above, the annotation "the intervals in the second sequence are the same as in the first" is not entirely correct. The descending pitches in the first segment (G to A), have different intervals than in the second segment (C to D). The difference being in the last three pitches (C, Bb, A versus F, E, D). We have whole-step + half-step intervals in the first, and half-step + whole-step in the second.
  
  A rhythmic sequence is the repetition of a rhythm with free use of pitches: 
   A modified sequence is a sequence where the subsequent segments are decorated or embellished so as to not destroy the character of the original segment:
   
   A false sequence is a literal repetition of the beginning of a figure and stating the rest in sequence:
   A modulating sequence is a sequence that leads from one tonal center to the next, with each segment technically being in a different key in some sequences: 
  The above passage starts in F major and modulates to B flat major and then, via the chord of G  to C major. Sometimes sequential passages combine more than one of the above characteristics.  In the third and fourth bars of the “Air” from J.S. Bach’s Orchestral Suite No. 3 in D major, the violin part forms a tonal sequence with the notes modified to fit the harmony, while the intervals in the bass line are unchanged, creating a real sequence. The whole passage also forms a modulating sequence, starting in D major and moving through E minor at the start of the fourth bar:
   
  A sequence can be described according to its direction (ascending or descending in pitch) and its adherence to the diatonic scale—that is, the sequence is diatonic if the pitches remain within the scale, or chromatic (or non-diatonic) if pitches outside of the diatonic scale are used and especially if all pitches are shifted by exactly the same interval (i.e., they are transposed).  The non-diatonic sequence tends to modulate to a new tonality or to cause temporarily tonicisation.
  At least two instances of a sequential pattern—including the original statement—are required to identify a sequence, and the pattern should be based on several melody notes or at least two successive harmonies (chords).  Although stereotypically associated with Baroque music, and especially the music of Antonio Vivaldi, this device is widespread throughout Western music history.
  The device of sequence epitomises both the goal-directed and the hierarchical nature of common-practice tonality. It is particularly prevalent in passages involving extension or elaboration; indeed, because of its inherently directed nature, it was (and still is) often pulled from the shelf by the less imaginative tonal composer as the stock response to a need for transitional or developmental activity. Whether dull or masterly, however, the emphasis is on the underlying process rather than the material itself.
  — Christopher Mark (2006), 
  Ritornellos and the amplification from melodies to Baroque lyrics are often built from sequences.
caption: Bach Prelude from Cello Suite in G, BWV 1007
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